Genres Books

Celebrity autobiographies are exercises in exhibiting the overexposed. However, dignity and discretion are assumed by the reader. Consequently, the author is oblidged to spend the entire book repeating, in essence, "I don't mean to brag but..." Also, celebrity autobiographies are famous for their creativity. David Niven's is pretty par for the course. I doubt if more than 25% of the incidents included happened exactly as described, if at all. All the better for the reader. The truth is usually rather dull or unpleasant. The narrative itself is very readable in a relaxed chatty style. Who knows if he even wrote it himself. You never know. Maybe he wrote the bare bones out and gave it to a ghostwriter to pad it and make it sound like "David Niven" wrote it. Wouldn't be the first time. Who cares? It's a fun story filled with famous people being interesting.

Published in 1972, THE MOON'S A BALLOON proved one of the great bestsellers of the decade--and if you read the first page you'll know why. You are immediate hooked by star David Niven's wild, wicked sense of humor. Whether it is his Dickensian childhood, his outrageous tour of duty with the British military, or his climb to unexpected stardom, this is truly Niven exactly as you imagine he would be.

Imagine, however, seems to be an operative word. Niven was less interested in relating the facts of his life than he was in telling a good story and in putting his best face to the public--something that is not entirely unexpected in an autobiography, particularly the autobiography of a Hollywood star. Later writers have noted that Niven played fast and loose with the facts in THE MOON'S A BALLOON, and that for all his charm he could be viciously despicable when the mood took him; it is also worth pointing out that he was never quite the "A List" star that he seems to be in his memoirs.

But all this is actually a little beside the point. Whether it is factually accurate and emotionally honest or not, THE MOON'S A BALLOON is simply a delightful read right from the first page, where we meet Nessie, the Picadilly hooker who introduced Niven to the joys of the flesh. Approximately half the book concerns Niven's life before he arrived in Hollywood as a would-be actor, and it is a riotous ride; once Niven hits the film industry, however, he begins to name drop with the best of them--offering memorable glimpses of such famous names as director William Wyler and stars Laurence Olivier and Vivian Leigh. It is all fascinating stuff.

It can also be quite startling. As just one example among many, when writing of his first wife's death Niven mentions that Joan Crawford stepped in to care for his children while he attempted to cope with his grief. Yikes! And although he was a great womanizer and cut a swath through Hollywood's beauties, Niven does no name dropping there; he does, however, describe an affair with a "Great Big Star" who was very likely Merle Oberon, the leading lady of WUTHERING HEIGHTS.

True enough, THE MOON'S A BALLOON will hardly stand a cold factual analysis--but it is a tremendously fun thing to read, a joyous and fun book, and while quite a lot of it is of the "tall tale" variety it certainly presents the star as he likely most wished to be seen and be remembered. Don't pick it for bedtime reading, because you'll never put it down! Recommended.

GFT, Amazon Reviewer

David Niven was not always a star. He had to go away and learn his trade in "B" movies before being allowed to enter the big time. He learnt that trade well but, unlike some who were destined to become greats of Hollywood, he also put his entire acting career on hold whilst he served as an officer in a fighting unit throughout WW2.

This book tells the first half of his life's story and what a story it is. Like every biography ever written, the best bits do not happen at the beginning, so some readers, therefore, might find it slow going at first. Though many will not. But then we meet the rich and famous stars of Hollywood from another era and learn a little about each of these people and their various relationships as we move from one to another and sometimes back again.

Written in David Niven's own hilarious style, there is so much humour here that you "will" find yourself insisting others read this book. In fact, it is so funny - especially his descriptions of the wrong use of English words by foreign movie directors, one finishes the book in the knowledge that had David Niven not become an Oscar-winning movie star, he would easily have achieved great success as a writer.

The underlying theme, of course, is David Niven's life and, as one reviewer has already said, this book leaves you wishing you had met this man. Me too.

NM

Let me explain what I mean.

First of all, from the very beginning pages of the Book, I could sense the smooth flow of thoughts, pouring out of MAN Niven, not ACTOR Niven.

Second, I could also feel for MAN Niven and what he went through in his youth and early manhood.

David Niven is a born storyteller. He should have dared direct movies as well. He would have succeeded splendidly because one of the very first requirements for a director, both on stage, as well as on camera, is to know how to tell a story, and tell it in a coherent and organized way.

That he had chosen not to do it, means that he was aware of his limitations and probably preferred to stick with what he knew best: acting.

I bought this book just by chance at Heathrow, while traveling to New York, feeling bored to death by the many security checks and formalities to be undergone these days, in order to be able to travel from point A to point B on the globe.

I had absolutely no idea what it was all about, but the title intrigued me, also because I had heard about it some years ago, but didn't pay appropriate attention to it at that time.

So, here I went and bought it. Finally on board of my flight carrying me to the U.S., I opened it and before I knew better, I had already landed at JFK having read half of it.

I could have blasted the pilot for that, but it wasn't his fault. I am a slow reader. I have to savor all the finesses contained in a book, given that the same is worth the effort. Believe me, "The Moon Is A Balloon", is such a book.

During my entire stay in the U.S. I carried the book around and kept on reading it - I should actually say - devour it. When I finally came to its end I felt disappointed.

Not by the book and magnificent tales and accounts it contains, but having come to a point where there was nothing more to read.

This is a book that will leave you with a "hunger" to read more about MAN David Niven and what he has to say about his experiences.

It is not just what he says, but how he says it.

The descriptions of the people he met, the places he visited, the moods and colors of his world, all come to life vividly.

Perhaps because I am a stage director, interested in directing movies, I may have a distorted vision on this, but I could actually visualize what David Niven was describing.

Various wild images a la Charles Dickens, especially at the very beginning of the book, sprung out of my mind (even "The Turning of the Screw" popped up - go figure why...).

Then, while he was describing his experiences with the schooling system in England, I visualized sorts of crazy images half-ways out of "Goodbye, Mr. Chips", mixed with "Blackboard Jungle" and/or "The Prime of Miss Jean Brodie" - the male version that is.

Later the encounter with his first love affair (I won't reveal more about it, you must read by yourself), I had flashes of "Of Human Bondage" and "Great Expectations".

His Malta adventure in the Army, almost sprung out from very early forties war movies, or thirties movies with Clark Gable.

Now I realize how deformed my professional mind is, but indeed I could feel being transported there, in his "Balloon", in his world, and felt part of his tragicomic life.

David Niven takes you by the hand and leads you into his secret garden, in which you discover the ugly sides of life, but also the very splendid tiny little pleasures that make his and everyone else's life pleasurable and indeed, worth living.

It is funny to think that David Niven's "Balloon" closely resembles to the one Jules Verne's created in "Around the World in 80 Days", and while this was a total work of fiction, Niven's own takes you much farther, than just around the world.

It takes you into a lesson of lived life, told by a human being who has truly learned from his mistakes and learned from them what life is truly all about.

The lesson though, never comes from a pulpit, it comes as a highly entertaining and fascinating account of experiences, at times very funny, at times very grim, but never, never boring.

I was stunned to finally witness that even a person like Niven, that was alive for most of my lifetime, could still enthrall and grip me with his writing style.

I usually have always avoided reading modern authors, or biographies of modern personalities, except maybe Science Fiction books (Isaac Asimov, Ray Bradbury or Arthur C. Clarke), since they all seem to resemble each other.
It is a continuous ego-trip with lots of whining and gossiping involved, but no true and genuine life experience and wisdom shared, and if is at all shared, it is in the form of "...let me tell you how to change your life, into a successful business-like one...".
Lots of preaching from insignificant and dull people I wouldn't even like to meet in person, even if I had a chance to do so.

David Niven never preaches, he just tells you how it was and the ways he managed to work himself out of trouble and into a very useful and respectable life.

I absolutely love his book.

Alas, David is not among us anymore, because if he were alive today, I would absolutely want to know and meet him in person, and perhaps even work with him.

I am over fifty, but I get a sense that with a person like him, I could still learn a lot in matters of life and how to survive even the most adverse of situations in it.

Dear readers, allow me to suggest this book to all of you. You won't regret it. This is not just another boring autobiography.
This is a man's heart opened up to the world, for the best and the worst.

David Niven's soul lies in his lines and comes alive when these lines are read.

Bless you David, wherever you may be, my thoughts are with you.The Moon's a Balloon

I just want to quickly add to all these other five-star reviews that this is one of the most inspirational books I have ever read. David Niven candidly bares his vulnerabilities and lets us in on the obstacles and hurts he endured. I read this at a time that I felt I was drifting and this made me feel much better. There are amusing stories about Hollywood and the rest of the world in the old days. Blessings to David Niven. It's a breeze of a read and I envy those of you who have it yet to enjoy for the first time!

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

I was given this book when I was convalescing in hospital. To be honest I would not have chosen a book about the life and music of George Harrison. However, from the very first chapter I found myself being drawn along a path of exploration about the life's work of George, a person whom I now realise had a tremendous influence on the musical tastes of my entire generation (I'm 52) and the generations that have come after me.
Sure, before reading the book I knew who many of the influential characters were such as Ravi Shankar, John Barham, Eric Clapton and of course the Beatles. But I didn't realise how closely their lives were intertwined and how their geniuses spun off each other.
Most of all I was struck by the spiritual influences on George. How he wasn't really searching for money or fame. It was the music and it was pursuing excellence as a means to knowing one's inner self.
Simon Leng's writing is concise, witty, even satyrical in places. At the same time the author shows himself to be very learned, thoroughly researched and very organised in terms of discography, cross references and building his line of argument in a chronological timeframe.
'The Music of George Harrison : While My Guitar Gently Weeps' by Simon Leng is easy to read, it keeps your interest and it leaves you with a feeling of enrichment.

Having already read a number of books about the Beatles I was hoping for a good insight into George Harrison and his music and this does not disappoint! The author provies an excellent balance between being informative about Harrison's music without falling into the "trainspotter element" of writing about an artist. The book is well researched and highly entertaining with a pleasant dry sense of humour. Especially interesting are the details of Harrison's early work and influences and the Clapton connection. If you are looking for a god insight into Harrison's work or dimply a damm good read, then look no further!
Highly recommended!

Not only does this book tell about George's solo work in non-technical, easy to read language, it also gives some great biographical information. In writing about his strenths as well as his shortcomings as a songwriter, singer, and musician, Leng neither idolizes nor condemns, but portrays George as a human being who made mistakes like everyone. His respect for George and his work clearly comes through. I highly recommend this book!

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

Will really lets you know how he feels (which I personally echo) about the treatment of the Vets by the general media and the leftist protesters during the opening pages of the book. The novel itself is a great tale that is very well told and hard to put down. The story is written in the language of the military, I really enjoyed reading it and could readily relate to (myself, also a retired E-8 but not a Viet Nam vet). There's an excellent glossary for non-vet types that makes clear reference of all the military terms in the book.

Just finished "Of Silent Parades" by Will Graley. Great book that brings back memories for us that were in Vietnam in one role or another. Great first book. I'm eagerly awating his next.

I am 34 years old and have never heard of the "Paris Peace Accords" until I read this book! I'm glad I read it! I learned and appreciate the truth!

I was born and raised in Columbus, Ga. and familiar with Ft. Benning, Ga. and reading this book brought back fond memories! This book was about the end of Vietnam and a soldiers story of a group of people who stuck together through thick and thin! No matter what! The idea of people like that fighting for me and my country...yes I'm very proud to be an American! Would make a great movie! Thank you Mr. Graley

"OF SILENT PARADES" published by Trafford Publishing, a publisher who has the fortitude to bring forth truth, has educated me and my generation that Vietnam Veterans never retreated to the beaches in shame as some quote "historians" unquote would have history to record.
Christine Castillo
Colorado Springs, CO

spent a pleasant afternoon reading , about 5 hrs from start to finish. time just flew by as I got caught up in the characters and decriptions of war. would recommend it to all of my friends.

I have recieved my score for the planets suite and this score is just what I wanted. The book is about A4 size and is very easy to hold, read and handle. The print size is fine for studying the score or just scanning while you listen. I am very happy with my score.

What more can be said about Holst's masterpiece "The Planets" which has not already been said been? To be sure, the music is a work of genius; therefore, I wish to comment more about the quality of Dover's printed score. This publication is a quality product. The engraving is primo (a reproduction of the 1921 Goodwin & Tabb Ltd. original); it is easily legible, accurate, and looks wonderful. Obviously, the original engravers were at the top of their game on this one, and Dover has done a terrific job of transferring the plates; it's as clean as one could wish for in an affordable study score. Even in soft-cover, the binding is durable and the pages lay flat. The inclusion of a commentary or brief analysis would have been a welcome addition, but that is a very small gripe against an otherwise fantastic publication. I give it my highest recommendation.

I went through this score several times with multiple recordings and it is to the tee. All the movements are in the book, in concert order, the score was written out in the proper key. If you're trying to find a score for the Planets, This is the one without having to buy the actual performance score.

This Dover score presents everything in a clear and easy-to-read way even though Holst wrote some interesting things that are difficult to notate by ear! The score does open up a new world - listening to it and reading/watching the score are two different things. I was completely unaware of Holst's gigantic forces and his wonderful orchestration that is present in the score.

There's no see through on the pages (and where there is, it is only minimal). Main languages are English and Italian terms. For an 80-year old score, it's pretty impressive and in very good condition. A very good buy I must say for $10 - my friend had to pay close to $70 for her copy (both of which are exactly the same). A great bargain!

Clean, clear, large print, handsome edition of this well known and loved classic. Lists instrumentation on every page (some editions don't list the score instrumentation except for the first page. This often makes score study [especially big orchestral works like this or R. Strauss] very hard to read).

Great price as well.

I have the original jazz card set by R. Crumb, so I was very happy to receive this re-compendium as a gift. The reproductions of the artwork are better than the cards, and Zwigoff's introduction is amusing. The CD is a great bonus, also. One goof I noticed is that the final cut is not Jimmy Noone's "King Joe," but Paul Whiteman's Orchestra with Bing Crosby's vocal, "From Monday On," featuring a good Bix Beiderbecke solo.

What a gem to find on your doorstep on a sunny afternoon. Book-CD full of mystery and joy. I passed it around at a picnic and everyone had a personal take on it. The music took me way back to my early childhood and me dad playing that early jazz stuff on Swaggy records. Dock Boggs music is chilling - always sends shivers up my spine. Jaybird Coleman is a revelation. It would be worth it for these alone but theres much much more.

A great book and a great CD at the price of one or the other. Book contains the comprehensive full-color artwork from Robert Crumb's three in and out of print collectors' card series: Jazz, Blues and Country featuring a few of the well-known artists and a lot of obscurities from the 20's and 30's. A great gift or a must have item for any fan of American Roots Music of the 20's and 30's.

Most Blues afficionado's will recognize the source of a lot of these illustrations but Crumbs personal take on the subjects brings new light and colour to some much loved portraits.The text is very light and could have been expanded, hence 4 stars . Buy Now

Wow! Every so often you run across something that knocks your socks off. R. Crumb's Heroes of Blues, Jazz, & Country left me barefooted.

In the 1980s, Robert Crumb, whom Robert Hughes appropriately once called the "Breughel of the 20th century," created sets of trading cards featuring some of his favorite blues, jazz, and country musicians. (The plan was to include one card per LP sold by innovative record firm Yazoo.) This collection, edited by Terry Zwigoff, the same guy who directed the documentary "Crumb," pulls together the illustrations from all three sets. They're wonderful. The blues and country illustrations are drawn, and are vintage Crumb: crosshatched, brooding characters. The jazz illustrations are water-colored. They're identifiably Crumb, but have a definitely different feel to them.

Crumb is a fascinating genius. Although his art and comics tend to be avant-garde (a term he might well disdain) and iconoclastic, Crumb also has a real affinity for late 19th and early 20th century American culture. Part of this love for an earlier time, no doubt, stems from his intense dislike of the fast-paced, loud, and garish American culture he eventually fled in the 1990s (Crumb now lives in France). But part of it is that he thinks the music produced in the early 20th century represents folk art at its finest and purest, before music became an industry. Crumb began collecting old 78s when he was still a teenager, and his love for the older music has never waned.

And so to the piece de resistance of this book: the accompanying 21 cut CD. Crumb personally chose the pieces, and they're absolutely fantastic. Except for a couple of the blues and jazz musicians, all of the artists are virtually unknown except to the afficionado. But man oh man, are they wonderful. Skip James' rendering of "Hard Time Killin' Floor Blues" is a heart-breaker. Dock Boggs' "Sugar Baby" and Burnett & Rutherford's "All Night Long Blues" are haunting in their strange but beautiful ways. And no matter how bad things get, Bennie Moten's Kansas City Orchestra's "Kater Street Rag" will pick you up. My son and I have listened to the CD over and over and over, and we never get tired of it. He prefers the blues and jazz, I'm in love with the hillbilly blue grass cuts. But the whole CD--well, it just knocks your socks off.

Wow.
_____
* From R. Crumb's essay "To Be Interested in Old Music is To Be a Social Outcast!", The R. Crumb Coffee Table Art Book, p. 191. "You play old records for most people, and, if they listen at all, after the record's over they turn to you and say, 'So what is it you like ab out that old music?' You just want to throw up your hands."

Having read a lot of WWI books and books on sniping this one takes the cake. It's written in the autobiographical tradition of Teddy Roosevelt and will impress the old and young alike with its vivid imagery and colorful prose. Great read.

Mr. McBride has written a book that nearly perfectly talks about what can be expected from a modern infantry man. He talks about sniping, putting in a properly sighted machine gun, raids, and patrols. Honestly, this book is so good that most Army ROTC and Marine Infantry instruction may want to have their future officers and NCO candidates read this book.

I will give you a story that really stuck me as being ahead of its time. Now, this book was written in the mid-1930s. However, Mr. McBride knows the problems of lugging ammunition. A soldier with .303 British (about equal to modern NATO 7.62 ammo) could only carry about 200 to 300 rounds. So, Mr. McBride thinks the armies should carry ammunition of about .27 caliber. That is almost exactly 6.8 mm. This is exactly the same solution the US Army discovered after 5 years in Iraq.

I liked this book. Mr. McBride thinks both the British and Canadian Armies did much better with their training time than the US military. Indeed, he thinks the US Army and military is overly tied up with paperwork. And that observation was made in 1918.

This is a five star book by a soldier who knows his field craft. Pay attention to his anti-sniper traps. They are still useful today. Also, the book is great for telling about how the Germans would leave abandoned grenades after an attack. Some were rigged to go off if picked up.

As written before, this book is five star. Mr. McBride writes a book about the birth of the modern infantry man. Indeed, their is little difference between a Tommy of WWI with a Lewis gun and a Grunt in Vietnam carrying an M-60 machinegun. In 50 years little had changed.

The modern professional soldier can learn a lot from this book. Some university military history departments may want this book for an individual study of a hard infantry man.

A thoughroughly enjoyable, mesmerizing, collection of a soldier's WWI remembrances. Somehow manages to be more than the sum of its plainly told, shy, politically incorrect, wars is hell but you get used to it parts. It ends up assembling and describing bit by bit the remarkable character of the author.

Also notable to me for how it reaches across 70 years to contrast how we've changed as a people. For example, I don't think this book would be published as written today. The editor would have probably added more polish, removed some of the namecalling and stereotyping and would have thus diminished the book.

As a rifle shooter with a historical interest i bought this book. If your looking for an overly dramatic or gruesome account of life in the first world war trenches dont by this book. From what i can tell it is a written collection of memories by the author. These memories are written in a matter of fact, straight talking way which does not hide the authors zealous approach to his task of being a soldier.

Although at times slightly rambling i found this an interesting read and at times amuzing. A good reference if you are interested in rifle shooting or battle history.

It might not be written in perfect English, and it's not always politically correct, but it's definitely always enjoyable.

You get the whole WWI experience from the author's point of view, including enough "war stories" to satisfy any reader.

McBride includes technical details, anecdotes, and just good old story telling, in this tale of a machine gunner / rifleman in the Great War.

See a Grown Man Cry: The prose is jagged, visceral, potent, vigorous and muscular. Every syllable aches and screams. This is adrenal overload. This is the assassination of mendacity, of mediocrity. The gelatinous underbelly of culture is exposed, cleaved and forcefully displayed. Then Henry eviscerates from the inside. The raw energy of this work is as naked, observant and perceptive as anything Bukowski ever committed to print.

i have never read anything by henry rollins before i purchased this book. and i fell in love w/ his writing. i have now bought almost every book by him and in the process of reading them. his books touch me in a way, and help too. its hard for me to find a book, let alone an author that i like as much as henry rollins and his books

this is the most honest, heartbreaking work I've read. It puts your personal misery into perspective, reminding you what it means to live life. Even after you lose those that make you whole.

7 years ago, a friend of mine read me a poem from "Now Watch Him Die" (They were seperate books back then). It's the one on page 164 of this volume, the one that starts with "I love you and you'll never know." Since then, I have not gone anywhere without a copy of these books close at hand. They are an all-encompassing chronicle of one man's solipsism, isolation, desperation and depression. This may not sound fascinating, but that man happens to be Henry Rollins, who has a talent for intensity and a command of words rivaled by no one of this era. Not since Bukowski has someone used so little to say so much. If you are ready for a descent into a maelstrom of anger, violence and pure, blinding pain, then this is the book for you. If you're looking for something sappy, sweet and redemptive, then try Oprah's Book Club instead.

There is so much farcity in the world today that it's so good to come across a writer like Henry who's willing to show everyone what he thinks, how he feels, what his life is like and how he perceives the world around him.

This book is very brutal and honest, which I think always makes for good writing. He has a very clear perception of the people around him and how they think, which lets him view the world from all sides including his own. I would recommend this book to anyone who wants to open their eyes to someone else's reality.

New Orleans resident and attorney, Bruce Spizer, has accomplished what no other Beatle fan and/or author could ever. Using his legal knowledge and access, has shed the ultimate light on the Beatles brief but fascinating time spent on Vee-Jay records. Congratulations to Mr. Spizer for cornering the market on what would otherwise be a mere footnote in the Fab's career, and for making it a wonderful read.

This is for all the beatle fans who wanted to know everything about vee jay. I do believe the Beatles on Vee-Jay is just a sentence or two in most biographies. Vee-Jay was something that the Beatles were picked up by before Capital came to their senses. However, if you want to know everything about it from the physical shape of the records in detailed description, from which warehouse a disc was manufactured, to the details of the royalty rates and how vee jay got hold of the beatles recordings and how they chose to release them. Only a lawyer can be this detailed and this good at describing the legal issues of the Beatles various contracts. The Beatles on vee-jay is a complicated matter, something someone from today wouldn't understand but the rock and roll business wasn't always so organized or money oriented, it was a much different world. A world of Singles, which don't exist anymore, a world of EPs which never caught big in America. The story how veejay marked down an ep to a singles price to help sell copies is priceless. Not only is this a book on the beatles it gives a grand idea on how rock and roll was marketed in 1963-1964. Initially you might think these are books are dull and obsessive but these books are essential, the pictures alone are worth the price of each book in the series, never mind all the text, the text is also detailed and through, remember if there's something that doesn't interest you, you may skip over that part i'm sure they'll be plenty in this book and the others that will interest you.

The story itself is absolutely mind boggling. This incredible tale has more loose ends than a rastafarian hat factory, and just as incredibly, Mr. Spizer pulls all of the threads together into a coherent whole and ties it up in spectacular fashion. The bumbling, cheating, lying, greedy characters that make up the story of how a record company missed the brass ring and lost the Beatles almost plays out like a soap opera....but it's all true! This is one of those cases where the truth is stranger than fiction. And while the story plays itself out, one is overwhelmed by the shear volume of product that an albums worth of songs engenders. If you think that Capitol "Butchered" the Beatles, you ain't read nothin' yet. The book is replete with scads of dazzling pictures of everything from record labels to court documents and everything in between. If you're a dihard Beatles fan or a just interested in stories with a twisted plot, you won't be disappointed with this book.

Wow. A great book about a little known part of the Beatles history. Most British fans will probably never even heard of the Vee-Jay records - so for that reason I suggest they well steer clear of this book. It tells the history of each record in so much detail that it is almost exhausting. Most fans will probably not care about the different labels designs and misprints on the sleeve... and which record processing plant they were made in... but to all of the Beatles collectors out there who want to know every possible thing about the band, then this book is a dream.
Not only does it cover all the ground in exhaustive detail, but it is also accurate - a not inconsiderable detail when you read about Vee-Jay in other books. For example, Bruce lays to rest some of the fables about the Introducing The Beatles album.
It is also lavishly illustrated.
Well worth the high asking price.

I received my copy of this book a couple of days ago with the similar Apple book (see my seperate review of that one). I bought it on the strength on the Author's similar Capitol volumes and boy it's amazing how much research this guy puts into his work. The Vee-Jay story was pretty much an unknown quantity to us Aussies so it's all the more fascinating to read the twists and turns of Vee-Jay's involvement in Beatlemania back in 1963-64. The chapters are mind-boggling to read. All 4 Capitol & Others vs Vee Jay legal cases are thoroughly detailed though I have skimmed through these because it's just so much to take in. The chapter on "Introducing The Beatles" was my main interest because I have a copy of the Mono Version #1 LP which I bought in an Auction here over 10 years ago. I have verified that it's the real deal thanks to this book + Perry Cox's "Beatles Price Guide". No, it's not for sale either!! The label representations and pictures of old original 45's are amazing and enough to drool over. I can't add much more than my colleague reviewers here other than you must have this and the Author's other books (On Capitol #1 & 2 & On Apple) if you're a serious Beatle nut like me. Even if you're not it's a wonderful addition to any Rock Music book library.

If you love soul music and want to understand it from the inside out this book is for you. It is full of facts, myths debunked, and a scholarly yet very sensitive and thoughtful perspective on what the music means to us and why.

In "Sweet Soul Music," Peter Guralnick explains what made soul music great. He views soul as a distinct genre, separate from Motown, which was performed primarily by black singers for a black audience. Soul told the story of the rapid social upheaval transforming the South while reflecting the gains made by the civil rights movement. According to Guralnick, soul was different from other forms of R&B because it involved straining the boundaries of the listener's expectations and hinting at a conclusion without actually reaching it. Unlike Motown, the musicians who performed soul were freelancers and individualists who emphasized the underlying feeling of a song more than keeping the mechanics exactly right. Guralnick says that because the musicians, songwriters, producers, managers, and engineers who created the music worked at isolated regional outposts far removed from the major record labels, they were able to define their own roles within the movement.

"Sweet Soul Music" traces the origin of soul to the song "Crying in the Chapel" by the Orioles, which blurred the lines between gospel and R&B. "I Got a Woman" by Ray Charles, which followed, solidified soul as a distinct genre and exerted a profound influence on the future of music in the U.S. Guralnick explains that "When a Man Loves a Woman" by Percy Sledge then brought white fans to the table. The book tells the stories of the heroes of soul, including Sam Cooke, Solomon Burke, Otis Redding, James Brown, and Aretha Franklin, explaining in great detail how each set goals, viewed their careers, related to their peers, and overcame obstacles in order to achieve the extraordinary success that they did. Many of the stories are memorable, enabling the reader to see how a particular event changed an individual artist's view of the world, influenced that artist's decisions, and shaped the music itself.

The book is at its best, though, when telling the stories of the lesser-known talents who paved the way for future artists to succeed. Guralnick explains how Arthur Alexander's single "You Better Move On" was criticized in Nashville for sounding "too black," but eventually found the audience it deserved and opened new doors for other Muscle Shoals artists. William Bell's successful touring to support the single "You Don't Miss Your Water (Till Your Well Runs Dry)" not only to put Stax on the map, but enabled Bell to set the gold standard regarding philosophy towards fame and stardom. Guralnick explains how Stax's decision to open a record store and carry competing labels' stock gave the Stax musicians an opportunity to study hits closely, learn why they were hits, and discuss what future hits should sound like.

The book concludes that soul never fully recovered from the assassination of Dr. Martin Luther King, Jr., an event that caused relationships among many of the movement's key players to become frayed. Guralnick says that soul was a genre that could only exist in a particular time and place because of the influence that the struggle for civil rights had on the music. Overall, "Sweet Soul Music" offers an outstanding look at why soul left such an extraordinary legacy for artists and fans today. The book is strongly recommended for anyone who wants to understand why soul left such a powerful impression on listeners at the time, and continues to do so today.

Like Robert Palmer's superb "Deep Blues," Guralnick's extensive look back at the roots of R&B and soul music combines criticism, biographical profiles and social history into one rich, printed tapestry. Meticulously researched, the book shows its author's deep love of the music without sacrificing objectivity.

Guralnick provides plenty of background on the "race music" that spawned R&B and the great soul music of the sixties and early seventies, on which much of the book concentrates. Like most, if not all, of the great blues musicians, the early pioneers of soul came from humble, mostly southern beginnings, and made little or no money from their work, which was liberally sampled by white musicians.

A good portion of the narrative revolves around the fascinating rise and fall of Stax Records, the tiny Memphis-based label that brought together white executive leadership and musicians with raw black talent from the South. Despite initially primitive recording conditions, Stax developed into a powerhouse that was home to some of the greatest musicians in soul music, from Otis Redding to William Bell to Carla Thomas to Sam and Dave to Johnny Taylor. The label became representative of the growing sense of black pride that defined the era, one in which civil rights, of course, moved to the forefront of America's consciousness.

All of these musicians and many more, including Aretha Franklin, Wilson Pickett and James Brown, to name a few, are given finely drawn profiles by Guralnick, and he treats their contributions to American music with the respect that they deserve. Throughout, he is intent on letting the artists tell their stories in their own words, and remains content to use his own fine writing to direct and bind together the narrative.

Another great accomplishment of the book, for me, was Guralnick's successful effort to illuminate the ties between white and black musicians during this period. Yes, many of the most successful producers, notably Atlantic's Jerry Wexler, were white, but so were many of the musicians. Most had grown up in the south around blacks and were intimately familiar with African-American music. The Stax house band, which included Steve Cropper and Donald Dunn, was white, and they performed on many songs penned by great black songwriters such as David Porter and Isaac Hayes. Think of the great, ominous organ introduction to Aretha Franklin's "I Ain't Never Loved a Man." The white player is Spooner Oldham. This musical cross-fertilization is a notable point, one not often brought into considerations of the era.

As a young kid coming up in the mid-60s, I loved the music that Guralnick writes about here, and I could tell -- even if he hadn't said so -- that he did too. He goes beyond that love to really dig into its roots and understand it, and succeeds admirably.

'Sweet Soul Music' is a fantastic book, the best book I've read on the subject. Having said that, it isn't by any means a complete history of Soul Music (it completely omits the great music that came from New York, Motown, Chicago and Philly), nor is it a complete history of Southern Soul Music (the book ends with the acrimonious break up of Stax/Volt records, even though great Soul was still being made elsewhere in Memphis). Guralnick's book starts off looking like a history of Soul Music (there are early chapters on Ray Charles, Sam Cooke, and an amazing and hilarious chapter on Solomon Burke), but then the book changes emphasis and becomes the story of the involvement of white musicians in Southern R&B.

Guralnick's thesis seems to be that Southern Soul achieved its great creative flowering in the 60s as a result of the partnership between black and white musicians, and even though he interviews a great number of musicians and businessmen - black and white - he can't help himself from empathising with the young white hipsters that made up the house bands at Stax and Muscle Shoals, with the result that the book becomes very much a story told from their point of view (Guralnick calls Dan Penn the "secret hero of this book" - fair enough, but surely James Brown should have been its overt hero). After these white musicians were intimidated out of the business during the racial tension that followed Martin Luther King's assassination in 1968, Guralnick concentrates more on the politics and seems to lose interest in the music itself.

Which is a great pity, since Southern Soul in the 70s went on to even greater heights (James Brown's rhythmic revolution, then Al Green's great synthesis of the sexual and the spiritual). Though I learnt a great deal from the book (my CD collection has mushroomed after reading it) it felt to this reader as though the book had ended just before its real climax.

I bought this book in the gift shop at the newly resurrected Stax Records museum in Memphis... the Satellite Record Shop, next door to the museum. I've lived in Memphis all my life, although I'm about 15-20 years younger than most of those made famous by the Stax phenomenon. I thoroughly enjoyed the book, and it served to fill in the blanks about many things I had only heard about superficially growing up here. I'm bothered by a lot of factual errors, not noticeable or important maybe to many, but this is about my home. At least the author and/or his editor could have been more sure of producing a factually accurate book. The edition I bought was published in 1999... the original in 1986. Did no one else catch these errors in the '86 edition? Here are a couple of examples: He refers to a Memphis radio station, KWEM, which was and is actually in West Memphis, Arkansas, and whose call letters are KWAM. (Everybody knows stations east of the Mississippi River start with a "W" and all those west of the Mississippi start with a "K".... radio and TV stations alike. Does the author know where Memphis is?
He refers to a naval base in Tipton County, TN, where Booker T. & the MGs would play, when in fact it's in Shelby County, the same county Memphis itself is in. Does this change anything in the big picture? Probably not. Is the book any less enjoyable or informative? No, not really. But if you considered yourself a true New Yorker, and someone kept writing about it, calling it Gethom City, or The Big Orange, well, you get the picture. I do wonder how many other errors the book may contain that I didn't catch?

For those of us who somehow can't seem to get enough of this stuff (you all know the "G" word), this book is perfect. In the wacky world of late 80's/early 90's Seattle, Peterson's photos are absolutely iconic.

Absolutely awesome book of photographs from a period of music I had the pleasure of being part of. If you like music; especially the artists in this book. Then this is your new coffee table book.

A divine marriage of vision, design and subject matter. Peterson's wild, free and spontaneous shooting style provides the perfect visual metaphor for the beer-stained and adrenaline-stoked Seattle grunge era. His pictures look like the music sounds - reckless, courageous, and always threatening to spin completely out of control.

An aggresive book design and a minimum of text keeps the emphasis where it belongs - on the music's energy and the exhilarating, ritual co-dependence of performers and fans. You can't slam out power chords on a Leica M6 - but Peterson comes closer than any other "Rock" photographer at pulling it off.

DSR

Unlike the other reviewers of this work, I was not there. I just love the artful quality photos in a book that is a collection item. The detail of the photos and the quality of the printing make this a work to savor. This is a forever book, should be on all shelves of collectors of fine photography.

When I close my eyes and think about the early 90's rock scene, I see Charles Peterson's photographs. I remember going to record stores and buying albums solely on his cover shot - blurred arms, swooshing lights, flailing hair. The cover photographs were so powerful that I could almost feel the greatness of the music inside the sleeve. Nirvana, Mudhoney, L7... fantastic bands captured live in amazing black and white.

In "Touch Me I'm Sick" you get some of the famous photos we all know and also tons that have never been released. These are the ones that had me in awe. Seeing ten year old photos for the first time of bands I love, it's like a treasure trove!

I am so happy that Charles Peterson took these photos and that he continues to share them with us. If I could give this book higher than 5 stars, I certainly would.